ferrum.wav

Yeah, this is my own original material, just inspired by Medtner (as I've put it in my catalogue) Really appreciate the feedback, thanks for commenting!

@therealAJGS so far i've finished 9 variations, theme, 1 - 5 is the first section, 6 - 9 is the 2nd section (9 is just an orcrhestration of "The Legend"), and after is the finale, which i haven't started anything yet. the whole piece currently sits at 17 minutes. i plan to do 3 - 5 rapid ones after the 2nd section.

Also some description of Variation 3: It's in 3/4. Tempo will be a metric modulation: the quarter note will be the same length as the 8th note from the 2nd variation.

Yeah I really want to emphasize the note repetitions and use the toms again, also the motif at the end with the xylophone is the transition towards the next variation. I'll be using that motif a lot (comes from the first 5 notes of the theme, and is the first 5 notes of "The Legend," whose materials appear a lot in "Dark Sanctuary," makes sense in the context of chapter 4). Dude you've been consistently commenting on my progress and I appreciate every single one of 'em!!!!

VARIATION 2 has been fully scored!!! yipiieeee much more rhythm heavy, orchestration is much more heavier, theme is still very much recognizable, just under different context

Yeah honestly your analysis is gonna be so much better than mine cus I'm not really familiar with the themes (even though I did try to check out the mock-up beforehand), and there are so many of 'em I kept hearing and seeing the similarities but ended up overwhelming myself. That's why I put "Random things I've noticed" since it's really not a full in-depth analysis, more like "oooooohh this section is from that section but some things are different" You've read me. It sounds weird but like it's much more easier for me when it comes to working with pre-existing themes. I did start another piece in the middle of working on my variations. It's a fully original solo piano suite to contrast the tons of orchestration that I have to do, and it's for me to actually compose my own themes. But yeah, you're welcome!

Man the woodwinds writing on this is insane, heck I think the woodwinds are the spotlight of this movement (and the horns too). You've managed to really use all of the family's characteristics to their fullest. Love the canon woodwinds-only section on b.42 for contrast, followed immediately by another color contrast on b.58 by the string quartet and the horn for pedal tones. It's really dense with the variety of themes playing counter-points with each other. The harmonies are so colorful, also really like the transitions between the variations. Random things I've noticed: brass fanfare interruptions on b.228 are from the beginning (b.17), the upward fourths figure from the cellos on b.72 gets a lot of variations after this as foreground (starting b.89), middleground (tremolo strings from b.101), background (b.97), and cadence (b.86 violins, b.126-127 clarinets and oboes, b.135 strings, b.142-145 strings), figure from b.81 by string and oboes gets variated on b.166 (love this section) and b.258, the arpeggiated power chord figure on the harp gets used a lot until the end. Overall, I really like it. Thanks for recommending me your piece! This really motivates and inspires me to continue my own symphonic variation.

The passage is indeed an english horn solo, mimicking the OST. Glad you liked the added counterpoint on the clarinet. On the OST, it's just a repetition with thickened accompaniments and more emphasized drums, but I wanted a slight variation. I had to add 2 bars (b.9-10) to wind down the dynamic for the eng.horn solo, which is different from the OST (goes straight for it, doesn't build up to a climax), glad you like the reorchestration! Yeah I noticed the use of tom-toms on the OST and immediately picked up the importance of it, since it provides a unique hemiola rhythm kind of thing. Thanks for the comments!

Gotta say, because my first listen is with 4 movements already available, I thoroughly enjoy listening to all of em! They all feel very connected, of course with the cyclical motif and all, and with the general simple and singing violin style, which in my opinion, you did achieve. You managed to retain and save the lightness of it until the end where it gets a bit heavier, and concluded the whole piece. Overall, goated violin sonata frfr 🗣️💯💯🔥🔥

VARIATION 1. I try to maintain the lightness of the theme's orchestration while adding varieties to the theme. the bit at the end is the transition to the 2nd variation, more dance-like i guess.

i've checked out 'energy discharge,' and i think it's very jumpy and peppy! yooo didn't think i'd meet a deltarune fan here!!! but thank you!!! and yeah, it is exactly what I'm trying to do with this orchestration of the theme's first introduction. the ost, i think, is much more heavier with the drums and stuff but here, it's very light. i'll be developing a lot more of the theme in the variations, of course.

hi been working on this piece for a month now, almost straight after "Your Reality," and around the release of Deltarune's Chapter 3+4. i was super inspired by the new osts so i decided to make a "theme and variations" piece from one of them. you could see it as the next step in my "actually learning orchestration journey," after making an arrangement, i guess this time (unlike the previous variations piece), i've divided the variations into three parts. the piece is halfway done in DAW, so i've started to make the score. also, when i do so, i usually polish and look for parts that I can optimize at the same time. the score currently contains only the introduction and the theme since that's the only progress that I've made with scoring. instrumentation : 3(III=pic).3(III=corA).3(III=bc).2 - 4.3.3.1 - timp.perc:glsp/xyl/2toms/sus.cymb/cyms/tgl/tamb - strings lemme know what ya think and feedbacks are always appreciated! OST:

Thought I'd join in as well!

It's actually not that difficult for me to do the modulation since when I was sketching, my original plan was to just modulate to another key far from C and not to any specific one. Furthermore, it's kinda chromatic too. I just moved a half step up when it reaches B flat and boom, B major, then you V-I that thing. I suppose the smooth voice leading and the orchestration help as well. Dude thanks so much for the appreciation and award!!! I'm so sorry it took me more than a week to response, like I've been wanting to response but I kept getting sidetracked. Again, really appreciate it!! Means a lot!!!!!!